{"title":"Selected Works: Porcelain Reconsidered","description":null,"products":[{"product_id":"sample-porcelain-item","title":"Ghost","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003ePorcelain is one of the most durable materials. It is used, for example, on the nosecones of rockets to withstand the temperature fluctuations caused by re-entry into Earth’s atmosphere. It is also being considered for sealing nuclear waste repositories. Porcelain is, therefore, a material that resists. It resists time, it resists heat, it resists humanity, it resists death. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eAs it moves through space and time, porcelain becomes a vessel for memory. It carries the trace of the maker, long after the body is gone. What remains is the object, the vase, enduring as a form of resistant memory, a ghost.\u003c\/span\u003e\u003c\/p\u003e","brand":"RÉJEAN PEYTAVIN","offers":[{"title":"Default Title","offer_id":52799845007669,"sku":null,"price":4000.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0779\/5798\/8661\/files\/260513_VS_Porcelain_0112_2.jpg?v=1780612608"},{"product_id":"other-porcelain-item","title":"Happy Vase in Honeydew","description":"\u003cp data-start=\"93\" data-end=\"477\"\u003eI work with porcelain in dialogue with the Rococo period of the 18th century, when the material was rare and highly prized. European factories such as Sèvres and Meissen became known for their ornate, decorative vessels - objects that signified taste and offered escapism through ornament and references to the natural world. My work revisits this history through a contemporary lens.\u003c\/p\u003e\n\u003cp data-start=\"479\" data-end=\"849\"\u003eMy face pots use the vessel to explore identity and human complexity. Their humorous yet prickly expressions contrast with glossy, seductive surfaces, creating a tension between appearance and interior experience. These works become entities in their own right and communicate emotions often concealed and suggest a process of self-acceptance.\u003c\/p\u003e\n\u003cp data-start=\"851\" data-end=\"1037\"\u003eRococo-inspired ornament animates the surface, functioning both as embellishment and as a form of armour. In this way, my works reflect how we continue to shape and present ourselves.\u003c\/p\u003e\n\u003cp data-start=\"1039\" data-end=\"1277\" data-is-last-node=\"\" data-is-only-node=\"\"\u003ePorcelain is central to this exploration. Its luminous surface holds colour and detail with precision, yet reveals every flaw. I embrace this sensitivity, allowing surfaces to shift between rough and refined, controlled and unpredictable.\u003c\/p\u003e","brand":"FAYE HADFIELD","offers":[{"title":"Default Title","offer_id":52799851888949,"sku":null,"price":4400.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0779\/5798\/8661\/files\/1_339d5c72-5564-4c59-af7b-b51522c11b14.png?v=1778626807"},{"product_id":"dentelles","title":"Dentelles","description":"\u003cdiv\u003ePorcelain came to me first through touch: it is soft, fluid under the hand in its raw state. There is something almost sensual in the material before firing.\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eBut what truly drew me in, was the desire to dethrone it. Porcelain carries a heavy legacy, the great manufactures, precious dinner services, the romantic figurines of the 19th century with their shepherdesses and gallant couples. I wanted to explore it from a radically different angle, more contemporary, stripped of its utilitarian role and inherited preciousness.\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eWhat also fascinates me is its memory. Porcelain captures and holds the finest details within its tight, dense grain, a lace imprint, a gesture, a texture. It keeps everything.\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eAnd then there is the fundamental paradox: once fired, porcelain reaches 6 to 7 on the Mohs scale, comparable to hardened steel. It is hard. And yet it is fragile. That contradiction is at the heart of my practice.\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eIn my woven works, I wanted to push this paradox as far as it would go: by linking hundreds of small, fragile porcelain elements through a thread system, I give them back a form of suppleness and fluidity, what they had in their raw state and what firing takes away. And paradoxically, this assembly of fragilities becomes a robust structure.\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eThis is where the real question emerges for me: is fragility truly a flaw? In our society, the fragility of a living being is often perceived negatively. But my woven works show me otherwise: fragility, put into relation, can become a force. A collective force.\u003c\/div\u003e","brand":"SOPHIE MANESSIEZ","offers":[{"title":"Default Title","offer_id":52799853855029,"sku":null,"price":2400.0,"currency_code":"CAD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0779\/5798\/8661\/files\/sophiemanessiez_expo_Genevieve_Lesieur-4_1.jpg?v=1778618605"},{"product_id":"colossus","title":"Colossus","description":"\u003cp\u003eMore than porcelain itself, I am interested in the process of working with the material. Porcelain is the medium I ultimately cast into form, but before that form can exist, I need to construct a model.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003eMy approach to modelling moves beyond traditional techniques. I work with an elastic membrane filled with small spheres, creating an unstable, pressure-responsive structure. As I build the plaster mould, these elements shift under its weight, meaning the final outcome is never fully predictable. In this sense, I am not designing a fixed object, but rather a process. The finished form becomes a record of that process, while porcelain — a material historically associated with perfection and control — carries the tension between intention and inevitability.\u003c\/p\u003e\n\u003cp\u003eThis tension is what makes porcelain relevant to me now. It is demanding, often resistant, and never entirely yields to control. At the same time, it carries strong cultural expectations. Working with it allows me to shift these associations — both in terms of form and process. I am increasingly interested in testing the boundaries of what working with porcelain can mean, and where control ends and the material’s own autonomy begins.\u003c\/p\u003e","brand":"ARKADIUSZ SZWED","offers":[{"title":"Default Title","offer_id":52799855296821,"sku":null,"price":1600.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0779\/5798\/8661\/files\/sciekArkadiuszSzwed3X4-13_1.jpg?v=1778360186"},{"product_id":"porcelain-object","title":"The Goose Tree (Diptych)","description":"\u003cp\u003eThe title of this diptych, The Goose Tree, comes from the medieval belief that Barnacle Geese grew from barnacles rather than hatching from eggs. Bestiaries showed them emerging from shells and hanging from branches, blurring boundaries between flora, fauna, and the unknown.\u003c\/p\u003e\n\u003cp\u003eThis work brings together earthy terracotta stoneware and fragile porcelain, highlighting the tension between their contrasting qualities - rough and smooth, dark and light. Porcelain pushing through the brown clay, exposing what lies beneath. The push and pull of the clay mirrors an interior landscape shaped by ideas of race, normality, gender, and the lingering shadows of violence.\u003c\/p\u003e\n\u003cp\u003ePorcelain becomes a material expression of the histories carried in the body, resurfacing in ways that are sometimes painful and always unpredictable. What emerges is vulnerable and resilient, fragmented yet beautifully alive.\u003c\/p\u003e","brand":"LINDA LENCOVIC","offers":[{"title":"Default Title","offer_id":52799856181557,"sku":null,"price":1885.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0779\/5798\/8661\/files\/Lencovic_TheGooseTree_2026_13_1.jpg?v=1778019467"},{"product_id":"procelain-ornament","title":"Porcelain Vessel 1","description":"\u003cp data-end=\"349\" data-start=\"127\"\u003e\u003cmeta charset=\"utf-8\"\u003eThis porcelain vessel was \u003cspan\u003efired in a propane kiln in reduction to cone 10\u003c\/span\u003e in 1977. This is one of the earliest pieces that I made out of my own clay body made in my studio in Lonsdale, Ontario. It was thrown on my potter's wheel.\u003c\/p\u003e\n\u003cp data-end=\"696\" data-start=\"351\"\u003eThe surface is defined by layered glaze applications including an over-spray of lithium copper blue alongside temmoku, creating a depth of tone and variation that speaks to both control and experimentation. These effects mark an early exploration of surface complexity, achieved without wood firing - an atmospheric firing process I wanted to explore. \u003c\/p\u003e\n\u003cp data-end=\"1137\" data-start=\"698\"\u003eAt the time, I had admired Japanese folk ware, and had been introduced to \u003cmeta charset=\"utf-8\"\u003eRuth Goudy McKinley and her wood fired work done in the early years when Sheridan College was established. I was interested in the expressive potential of flame and ash. This piece can be understood as a transitional work as it reflects a shift in thinking - glaze begins to move toward a more dynamic, process-driven surface.\u003c\/p\u003e","brand":"HARLAN HOUSE","offers":[{"title":"Default Title","offer_id":52799856902453,"sku":null,"price":1500.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0779\/5798\/8661\/files\/IMG_0623.jpg?v=1777585092"},{"product_id":"porcelain-vessel-2","title":"Porcelain Vessel 2","description":"\u003cp data-start=\"127\" data-end=\"349\"\u003e\u003cmeta charset=\"utf-8\"\u003eThis porcelain vessel was \u003cspan\u003efired in a propane kiln in reduction to cone 10\u003c\/span\u003e in 1977. This is one of the earliest porcelain pieces that I made out of my own clay body in my studio in Lonsdale, Ontario. It was thrown on my potter's wheel.\u003c\/p\u003e\n\u003cp data-start=\"351\" data-end=\"696\"\u003eThe surface is defined by layered glaze applications including an over-spray of lithium copper blue alongside temmoku, creating a depth of tone and variation that speaks to both control and experimentation. These effects mark an early exploration of surface complexity, achieved without wood firing - an atmospheric firing process I wanted to explore. \u003c\/p\u003e\n\u003cp data-start=\"698\" data-end=\"1137\"\u003eAt the time, I had admired Japanese folk ware, and had been introduced to \u003cmeta charset=\"utf-8\"\u003eRuth Goudy McKinley and her wood fired work done in the early years when Sheridan College was established. I was interested in the expressive potential of flame and ash. This piece can be understood as a transitional work as it reflects a shift in thinking - glaze begins to move toward a more dynamic, process-driven surface.\u003c\/p\u003e","brand":"HARLAN HOUSE","offers":[{"title":"Default Title","offer_id":52806693519669,"sku":null,"price":1200.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0779\/5798\/8661\/files\/IMG_0634.jpg?v=1777585834"},{"product_id":"porcelain-vessel-3","title":"Porcelain Vessel 3","description":"\u003cp data-end=\"349\" data-start=\"127\"\u003eThis porcelain vessel was \u003cspan\u003efired in a propane kiln in reduction to cone 10\u003c\/span\u003e in 1977. This is one of the earliest pieces that I made out of my own clay body made in my studio in Lonsdale, Ontario. It was thrown on my potter's wheel.\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp data-end=\"696\" data-start=\"351\"\u003eThe surface is defined by layered glaze applications including an over-spray of lithium copper blue alongside temmoku, creating a depth of tone and variation that speaks to both control and experimentation. These effects mark an early exploration of surface complexity, achieved without wood firing - an atmospheric firing process I wanted to explore. \u003c\/p\u003e\n\u003cp data-end=\"1137\" data-start=\"698\"\u003eAt the time, I had admired Japanese folk ware, and had been introduced to \u003cmeta charset=\"utf-8\"\u003eRuth Goudy McKinley and her wood fired work done in the early years when Sheridan College was established. I was interested in the expressive potential of flame and ash. This piece can be understood as a transitional work as it reflects a shift in thinking - glaze begins to move toward a more dynamic, process-driven surface.\u003c\/p\u003e","brand":"HARLAN HOUSE","offers":[{"title":"Default Title","offer_id":52806711279925,"sku":null,"price":1200.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0779\/5798\/8661\/files\/IMG_0638.jpg?v=1777586083"},{"product_id":"porcelain-vessel-1","title":"Porcelain Vessel 1","description":"\u003cp data-end=\"349\" data-start=\"107\"\u003eIn my work, I move porcelain away from its traditional associations with purity and refinement. Through wood firing, the surface is shaped by ash and flame. This process resists control and leaves each piece marked by its environment.\u003c\/p\u003e\n\u003cp data-end=\"654\" data-start=\"351\"\u003eI’m drawn to the chemistry of wood ash and its relationship to glaze. I approach porcelain as a material to be pushed, tested, and unsettled. My forms are often thick and weighted, sometimes embedded with natural materials such as stones and other natural fragments which introduces unpredictability and imperfection into the work.\u003c\/p\u003e\n\u003cp data-end=\"815\" data-start=\"656\"\u003eThis is porcelain at odds with expectation. I’m less interested in precision than in discovery. I'm searching for surfaces I haven’t seen before.\u003c\/p\u003e","brand":"Robin DuPont","offers":[{"title":"Default Title","offer_id":52820372750645,"sku":null,"price":1350.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0779\/5798\/8661\/files\/IMG_0642.jpg?v=1777915930"},{"product_id":"porcelain-vessel-4","title":"Porcelain Vessel 2","description":"\u003cp data-end=\"349\" data-start=\"107\"\u003eIn my work, I move porcelain away from its traditional associations with purity and refinement. Through wood firing, the surface is shaped by ash and flame. This process resists control and leaves each piece marked by its environment.\u003c\/p\u003e\n\u003cp data-end=\"654\" data-start=\"351\"\u003eI’m drawn to the chemistry of wood ash and its relationship to glaze. I approach porcelain as a material to be pushed, tested, and unsettled. My forms are often thick and weighted, sometimes embedded with natural materials such as stones and other natural fragments which introduces unpredictability and imperfection into the work.\u003c\/p\u003e\n\u003cp data-end=\"815\" data-start=\"656\"\u003eThis is porcelain at odds with expectation. I’m less interested in precision than in discovery. I'm searching for surfaces I haven’t seen before.\u003c\/p\u003e","brand":"Robin DuPont","offers":[{"title":"Default Title","offer_id":52820380614965,"sku":null,"price":1350.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0779\/5798\/8661\/files\/IMG_0646.jpg?v=1777916063"},{"product_id":"xl-porcelain-vessel","title":"XL Porcelain Vessel","description":"\u003cp\u003eWheel thrown vessel in porcelain clay and wood fired in an anagama for 5 days. \u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e\n\u003cp data-start=\"107\" data-end=\"349\"\u003eIn my work, I move porcelain away from its traditional associations with purity and refinement. Through wood firing, the surface is shaped by ash and flame. This process resists control and leaves each piece marked by its environment.\u003c\/p\u003e\n\u003cp data-start=\"351\" data-end=\"654\"\u003eI’m drawn to the chemistry of wood ash and its relationship to glaze. I approach porcelain as a material to be pushed, tested, and unsettled. My forms are often thick and weighted, sometimes embedded with natural materials such as stones and other natural fragments which introduces unpredictability and imperfection into the work.\u003c\/p\u003e\n\u003cp data-start=\"656\" data-end=\"815\"\u003eThis is porcelain at odds with expectation. I’m less interested in precision than in discovery. I'm searching for surfaces I haven’t seen before.\u003c\/p\u003e","brand":"Robin DuPont","offers":[{"title":"Default Title","offer_id":52820386480437,"sku":null,"price":3000.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0779\/5798\/8661\/files\/IMG_0651.jpg?v=1777916245"},{"product_id":"flagship-of-fragility","title":"Flagship of Fragility","description":"\u003cdiv\u003ePorcelain came to me first through touch: it is soft, fluid under the hand in its raw state. There is something almost sensual in the material before firing.\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eBut what truly drew me in, was the desire to dethrone it. Porcelain carries a heavy legacy, the great manufactures, precious dinner services, the romantic figurines of the 19th century with their shepherdesses and gallant couples. I wanted to explore it from a radically different angle, more contemporary, stripped of its utilitarian role and inherited preciousness.\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eWhat also fascinates me is its memory. Porcelain captures and holds the finest details within its tight, dense grain, a lace imprint, a gesture, a texture. It keeps everything.\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eAnd then there is the fundamental paradox: once fired, porcelain reaches 6 to 7 on the Mohs scale, comparable to hardened steel. It is hard. And yet it is fragile. That contradiction is at the heart of my practice.\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eIn my woven works, I wanted to push this paradox as far as it would go: by linking hundreds of small, fragile porcelain elements through a thread system, I give them back a form of suppleness and fluidity, what they had in their raw state and what firing takes away. And paradoxically, this assembly of fragilities becomes a robust structure.\u003c\/div\u003e\n\u003cdiv\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003cdiv\u003eThis is where the real question emerges for me: is fragility truly a flaw? In our society, the fragility of a living being is often perceived negatively. But my woven works show me otherwise: fragility, put into relation, can become a force. A collective force.\u003c\/div\u003e","brand":"SOPHIE MANESSIEZ","offers":[{"title":"Default Title","offer_id":52868422304053,"sku":null,"price":2600.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0779\/5798\/8661\/files\/sophiemanessiez_expo_Genevieve_Lesieur-1_1.jpg?v=1778618868"},{"product_id":"worthiness","title":"Worthiness","description":"\u003cp data-start=\"113\" data-end=\"527\"\u003eMy relationship to porcelain begins with early exposure to it as an object of admiration—figures by Royal Doulton, Rosenthal, Belleek, and the quiet perfection of European porcelain sinks. There was a precision to these works, a sense of refinement achieved through casting and control. I was also drawn to antique Asian blue-and-white vessels, where porcelain carried both history and a kind of quiet authority.\u003c\/p\u003e\n\u003cp data-start=\"529\" data-end=\"592\"\u003ePorcelain held a hierarchy - it was the material of perfection.\u003c\/p\u003e\n\u003cp data-start=\"594\" data-end=\"895\"\u003eIt’s precisely for this reason that I chose to work against that expectation. Through hand building, I move away from perfection, allowing fingerprints and gesture to remain visible. The work becomes more organic and more emotional. It's shaped by the hand rather than concealed by finish.\u003c\/p\u003e\n\u003cp data-start=\"897\" data-end=\"1178\"\u003eAt the same time, porcelain offers a unique sensitivity. It can be translucent, understated, and quietly luminous, with or without glaze. I’m interested in this tension between its historical association with perfection and its potential to hold something more raw and immediate.\u003c\/p\u003e\n\u003cp data-start=\"1180\" data-end=\"1458\"\u003eIn some works, I incorporate deconstructed Royal Doulton pieces, questioning what has been inherited and what we continue to value. These fragments become a way to reconsider ideas of beauty, worth, and collectability. What is preserved? What is transformed through making?\u003c\/p\u003e","brand":"HEATHER WAUGH PITTS","offers":[{"title":"Default Title","offer_id":52869432246581,"sku":null,"price":3100.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0779\/5798\/8661\/files\/HeatherPittspottery11_1_1.jpg?v=1778634941"},{"product_id":"gothic-sentinel-1-with-prisms","title":"Gothic Sentinel 1 (with prisms)","description":"\u003cp data-start=\"113\" data-end=\"527\"\u003eMy relationship to porcelain begins with early exposure to it as an object of admiration—figures by Royal Doulton, Rosenthal, Belleek, and the quiet perfection of European porcelain sinks. There was a precision to these works, a sense of refinement achieved through casting and control. I was also drawn to antique Asian blue-and-white vessels, where porcelain carried both history and a kind of quiet authority.\u003c\/p\u003e\n\u003cp data-start=\"529\" data-end=\"592\"\u003ePorcelain held a hierarchy - it was the material of perfection.\u003c\/p\u003e\n\u003cp data-start=\"594\" data-end=\"895\"\u003eIt’s precisely for this reason that I chose to work against that expectation. Through hand building, I move away from perfection, allowing fingerprints and gesture to remain visible. The work becomes more organic and more emotional. It's shaped by the hand rather than concealed by finish.\u003c\/p\u003e\n\u003cp data-start=\"897\" data-end=\"1178\"\u003eAt the same time, porcelain offers a unique sensitivity. It can be translucent, understated, and quietly luminous, with or without glaze. I’m interested in this tension between its historical association with perfection and its potential to hold something more raw and immediate.\u003c\/p\u003e\n\u003cp data-start=\"1180\" data-end=\"1458\"\u003eIn some works, I incorporate deconstructed Royal Doulton pieces, questioning what has been inherited and what we continue to value. These fragments become a way to reconsider ideas of beauty, worth, and collectability. What is preserved? What is transformed through making?\u003c\/p\u003e","brand":"HEATHER WAUGH PITTS","offers":[{"title":"Default Title","offer_id":52869659623733,"sku":null,"price":1150.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0779\/5798\/8661\/files\/IMG_2424_1.jpg?v=1778636384"},{"product_id":"gothic-sentinel-2","title":"Gothic Sentinel 2","description":"\u003cp data-start=\"113\" data-end=\"527\"\u003eMy relationship to porcelain begins with early exposure to it as an object of admiration—figures by Royal Doulton, Rosenthal, Belleek, and the quiet perfection of European porcelain sinks. There was a precision to these works, a sense of refinement achieved through casting and control. I was also drawn to antique Asian blue-and-white vessels, where porcelain carried both history and a kind of quiet authority.\u003c\/p\u003e\n\u003cp data-start=\"529\" data-end=\"592\"\u003ePorcelain held a hierarchy - it was the material of perfection.\u003c\/p\u003e\n\u003cp data-start=\"594\" data-end=\"895\"\u003eIt’s precisely for this reason that I chose to work against that expectation. Through hand building, I move away from perfection, allowing fingerprints and gesture to remain visible. The work becomes more organic and more emotional. It's shaped by the hand rather than concealed by finish.\u003c\/p\u003e\n\u003cp data-start=\"897\" data-end=\"1178\"\u003eAt the same time, porcelain offers a unique sensitivity. It can be translucent, understated, and quietly luminous, with or without glaze. I’m interested in this tension between its historical association with perfection and its potential to hold something more raw and immediate.\u003c\/p\u003e\n\u003cp data-start=\"1180\" data-end=\"1458\"\u003eIn some works, I incorporate deconstructed Royal Doulton pieces, questioning what has been inherited and what we continue to value. These fragments become a way to reconsider ideas of beauty, worth, and collectability. What is preserved? What is transformed through making?\u003c\/p\u003e","brand":"HEATHER WAUGH PITTS","offers":[{"title":"Default Title","offer_id":52869682135349,"sku":null,"price":950.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0779\/5798\/8661\/files\/IMG_2431_1_1.jpg?v=1778636653"},{"product_id":"gothic-sentinel-4","title":"Gothic Sentinel 4","description":"\u003cp data-start=\"113\" data-end=\"527\"\u003eMy relationship to porcelain begins with early exposure to it as an object of admiration—figures by Royal Doulton, Rosenthal, Belleek, and the quiet perfection of European porcelain sinks. There was a precision to these works, a sense of refinement achieved through casting and control. I was also drawn to antique Asian blue-and-white vessels, where porcelain carried both history and a kind of quiet authority.\u003c\/p\u003e\n\u003cp data-start=\"529\" data-end=\"592\"\u003ePorcelain held a hierarchy - it was the material of perfection.\u003c\/p\u003e\n\u003cp data-start=\"594\" data-end=\"895\"\u003eIt’s precisely for this reason that I chose to work against that expectation. Through hand building, I move away from perfection, allowing fingerprints and gesture to remain visible. The work becomes more organic and more emotional. It's shaped by the hand rather than concealed by finish.\u003c\/p\u003e\n\u003cp data-start=\"897\" data-end=\"1178\"\u003eAt the same time, porcelain offers a unique sensitivity. It can be translucent, understated, and quietly luminous, with or without glaze. I’m interested in this tension between its historical association with perfection and its potential to hold something more raw and immediate.\u003c\/p\u003e\n\u003cp data-start=\"1180\" data-end=\"1458\"\u003eIn some works, I incorporate deconstructed Royal Doulton pieces, questioning what has been inherited and what we continue to value. These fragments become a way to reconsider ideas of beauty, worth, and collectability. What is preserved? What is transformed through making?\u003c\/p\u003e","brand":"HEATHER WAUGH PITTS","offers":[{"title":"Default Title","offer_id":52869700616501,"sku":null,"price":695.0,"currency_code":"CAD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0779\/5798\/8661\/files\/IMG_2432.jpg?v=1778637405"},{"product_id":"gothic-sentinel-5","title":"Gothic Sentinel 5","description":"\u003cp data-start=\"113\" data-end=\"527\"\u003eMy relationship to porcelain begins with early exposure to it as an object of admiration—figures by Royal Doulton, Rosenthal, Belleek, and the quiet perfection of European porcelain sinks. There was a precision to these works, a sense of refinement achieved through casting and control. I was also drawn to antique Asian blue-and-white vessels, where porcelain carried both history and a kind of quiet authority.\u003c\/p\u003e\n\u003cp data-start=\"529\" data-end=\"592\"\u003ePorcelain held a hierarchy - it was the material of perfection.\u003c\/p\u003e\n\u003cp data-start=\"594\" data-end=\"895\"\u003eIt’s precisely for this reason that I chose to work against that expectation. Through hand building, I move away from perfection, allowing fingerprints and gesture to remain visible. The work becomes more organic and more emotional. It's shaped by the hand rather than concealed by finish.\u003c\/p\u003e\n\u003cp data-start=\"897\" data-end=\"1178\"\u003eAt the same time, porcelain offers a unique sensitivity. It can be translucent, understated, and quietly luminous, with or without glaze. I’m interested in this tension between its historical association with perfection and its potential to hold something more raw and immediate.\u003c\/p\u003e\n\u003cp data-start=\"1180\" data-end=\"1458\"\u003eIn some works, I incorporate deconstructed Royal Doulton pieces, questioning what has been inherited and what we continue to value. These fragments become a way to reconsider ideas of beauty, worth, and collectability. What is preserved? What is transformed through making?\u003c\/p\u003e","brand":"HEATHER WAUGH PITTS","offers":[{"title":"Default Title","offer_id":52869704286517,"sku":null,"price":375.0,"currency_code":"CAD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0779\/5798\/8661\/files\/IMG_2434_1.jpg?v=1778637503"},{"product_id":"gothic-sentinel-7","title":"Gothic Sentinel 7","description":"\u003cp data-start=\"113\" data-end=\"527\"\u003eMy relationship to porcelain begins with early exposure to it as an object of admiration—figures by Royal Doulton, Rosenthal, Belleek, and the quiet perfection of European porcelain sinks. There was a precision to these works, a sense of refinement achieved through casting and control. I was also drawn to antique Asian blue-and-white vessels, where porcelain carried both history and a kind of quiet authority.\u003c\/p\u003e\n\u003cp data-start=\"529\" data-end=\"592\"\u003ePorcelain held a hierarchy - it was the material of perfection.\u003c\/p\u003e\n\u003cp data-start=\"594\" data-end=\"895\"\u003eIt’s precisely for this reason that I chose to work against that expectation. Through hand building, I move away from perfection, allowing fingerprints and gesture to remain visible. The work becomes more organic and more emotional. It's shaped by the hand rather than concealed by finish.\u003c\/p\u003e\n\u003cp data-start=\"897\" data-end=\"1178\"\u003eAt the same time, porcelain offers a unique sensitivity. It can be translucent, understated, and quietly luminous, with or without glaze. I’m interested in this tension between its historical association with perfection and its potential to hold something more raw and immediate.\u003c\/p\u003e\n\u003cp data-start=\"1180\" data-end=\"1458\"\u003eIn some works, I incorporate deconstructed Royal Doulton pieces, questioning what has been inherited and what we continue to value. These fragments become a way to reconsider ideas of beauty, worth, and collectability. What is preserved? What is transformed through making?\u003c\/p\u003e","brand":"HEATHER WAUGH PITTS","offers":[{"title":"Default Title","offer_id":52869721358645,"sku":null,"price":435.0,"currency_code":"CAD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0779\/5798\/8661\/files\/IMG_2695_1.jpg?v=1778638270"},{"product_id":"gothic-sentinel-8","title":"Gothic Sentinel 8","description":"\u003cp data-start=\"113\" data-end=\"527\"\u003eMy relationship to porcelain begins with early exposure to it as an object of admiration—figures by Royal Doulton, Rosenthal, Belleek, and the quiet perfection of European porcelain sinks. There was a precision to these works, a sense of refinement achieved through casting and control. I was also drawn to antique Asian blue-and-white vessels, where porcelain carried both history and a kind of quiet authority.\u003c\/p\u003e\n\u003cp data-start=\"529\" data-end=\"592\"\u003ePorcelain held a hierarchy - it was the material of perfection.\u003c\/p\u003e\n\u003cp data-start=\"594\" data-end=\"895\"\u003eIt’s precisely for this reason that I chose to work against that expectation. Through hand building, I move away from perfection, allowing fingerprints and gesture to remain visible. The work becomes more organic and more emotional. It's shaped by the hand rather than concealed by finish.\u003c\/p\u003e\n\u003cp data-start=\"897\" data-end=\"1178\"\u003eAt the same time, porcelain offers a unique sensitivity. It can be translucent, understated, and quietly luminous, with or without glaze. I’m interested in this tension between its historical association with perfection and its potential to hold something more raw and immediate.\u003c\/p\u003e\n\u003cp data-start=\"1180\" data-end=\"1458\"\u003eIn some works, I incorporate deconstructed Royal Doulton pieces, questioning what has been inherited and what we continue to value. These fragments become a way to reconsider ideas of beauty, worth, and collectability. What is preserved? What is transformed through making?\u003c\/p\u003e","brand":"HEATHER WAUGH PITTS","offers":[{"title":"Default Title","offer_id":52869747900725,"sku":null,"price":950.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0779\/5798\/8661\/files\/IMG_2694.jpg?v=1778638540"},{"product_id":"gothic-sentinel-9","title":"Gothic Sentinel 6","description":"\u003cp data-start=\"113\" data-end=\"527\"\u003eMy relationship to porcelain begins with early exposure to it as an object of admiration—figures by Royal Doulton, Rosenthal, Belleek, and the quiet perfection of European porcelain sinks. There was a precision to these works, a sense of refinement achieved through casting and control. I was also drawn to antique Asian blue-and-white vessels, where porcelain carried both history and a kind of quiet authority.\u003c\/p\u003e\n\u003cp data-start=\"529\" data-end=\"592\"\u003ePorcelain held a hierarchy - it was the material of perfection.\u003c\/p\u003e\n\u003cp data-start=\"594\" data-end=\"895\"\u003eIt’s precisely for this reason that I chose to work against that expectation. Through hand building, I move away from perfection, allowing fingerprints and gesture to remain visible. The work becomes more organic and more emotional. It's shaped by the hand rather than concealed by finish.\u003c\/p\u003e\n\u003cp data-start=\"897\" data-end=\"1178\"\u003eAt the same time, porcelain offers a unique sensitivity. It can be translucent, understated, and quietly luminous, with or without glaze. I’m interested in this tension between its historical association with perfection and its potential to hold something more raw and immediate.\u003c\/p\u003e\n\u003cp data-start=\"1180\" data-end=\"1458\"\u003eIn some works, I incorporate deconstructed Royal Doulton pieces, questioning what has been inherited and what we continue to value. These fragments become a way to reconsider ideas of beauty, worth, and collectability. What is preserved? What is transformed through making?\u003c\/p\u003e","brand":"HEATHER WAUGH PITTS","offers":[{"title":"Default Title","offer_id":52869756191029,"sku":null,"price":950.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0779\/5798\/8661\/files\/IMG_2697.jpg?v=1778638634"},{"product_id":"love-in-a-mist-3-petal-pod","title":"Love in a Mist - 3 Petal Pod","description":"\u003cp data-start=\"178\" data-end=\"553\"\u003eMy work in porcelain is grounded in a sense of both limitlessness and containment and these two conditions exist simultaneously in the material. \u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eThere is a sense of reigning in as everything around has to be clear, clean and sorted, and the work space clearly defined. \u003c\/span\u003eYet once I begin working, there is a feeling that the material can be pushed further and further, beyond what is possible with other clays.\u003c\/p\u003e\n\u003cp data-start=\"555\" data-end=\"932\"\u003eIn the \u003cem data-start=\"562\" data-end=\"578\"\u003eLove in a Mist \u003c\/em\u003e(a plant species also referred to as, \u003cem data-start=\"562\" data-end=\"578\"\u003e\u003cem data-start=\"603\" data-end=\"622\"\u003eNigella damascena), \u003c\/em\u003e\u003c\/em\u003ethis tension takes form. Hand building requires a pace that is inherently slower, and in that slowness I find a kind of clarity. It quiets distraction and allows for a more attentive engagement with the material. Porcelain demands this care. \u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eThere are many disruptions and failures working with porcelain, taking it too far, too thin - it can easily collapse in the making or in the firing but the challenge for me is worth it. The material is \u003c\/span\u003ecapable of remarkable delicacy, thinness, translucency, and a luminous whiteness that holds both light and detail.\u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e\n\u003cp data-start=\"1326\" data-end=\"1598\"\u003eI am drawn to this balance: between control and risk, fragility and strength. The challenges of the material are part of its pull. Through working with porcelain, I am continually negotiating these limits, allowing the form to emerge through both intention and response.\u003c\/p\u003e","brand":"LOREN KAPLAN","offers":[{"title":"Default Title","offer_id":52869771493685,"sku":null,"price":950.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0779\/5798\/8661\/files\/IMG_0042.jpg?v=1778640160"},{"product_id":"love-in-a-mist-5-petal-pod","title":"Love in a Mist - 5 Petal Pod","description":"\u003cp data-start=\"178\" data-end=\"553\"\u003eMy work in porcelain is grounded in a sense of both limitlessness and containment and these two conditions exist simultaneously in the material. \u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eThere is a sense of reigning in as everything around has to be clear, clean and sorted, and the work space clearly defined. \u003c\/span\u003eYet once I begin working, there is a feeling that the material can be pushed further and further, beyond what is possible with other clays.\u003c\/p\u003e\n\u003cp data-start=\"555\" data-end=\"932\"\u003eIn the \u003cem data-start=\"562\" data-end=\"578\"\u003eLove in a Mist \u003c\/em\u003e(a plant species also referred to as, \u003cem data-start=\"562\" data-end=\"578\"\u003e\u003cem data-start=\"603\" data-end=\"622\"\u003eNigella damascena), \u003c\/em\u003e\u003c\/em\u003ethis tension takes form. Hand building requires a pace that is inherently slower, and in that slowness I find a kind of clarity. It quiets distraction and allows for a more attentive engagement with the material. Porcelain demands this care. \u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eThere are many disruptions and failures working with porcelain, taking it too far, too thin - it can easily collapse in the making or in the firing but the challenge for me is worth it. The material is \u003c\/span\u003ecapable of remarkable delicacy, thinness, translucency, and a luminous whiteness that holds both light and detail.\u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e\n\u003cp data-start=\"1326\" data-end=\"1598\"\u003eI am drawn to this balance: between control and risk, fragility and strength. The challenges of the material are part of its pull. Through working with porcelain, I am continually negotiating these limits, allowing the form to emerge through both intention and response.\u003c\/p\u003e","brand":"LOREN KAPLAN","offers":[{"title":"Default Title","offer_id":52869842436405,"sku":null,"price":1450.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0779\/5798\/8661\/files\/IMG_0051.jpg?v=1778640413"},{"product_id":"love-in-a-mist-6-petal-pod","title":"Love in a Mist - 6 Petal Pod","description":"\u003cp data-start=\"178\" data-end=\"553\"\u003eMy work in porcelain is grounded in a sense of both limitlessness and containment and these two conditions exist simultaneously in the material. \u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eThere is a sense of reigning in as everything around has to be clear, clean and sorted, and the work space clearly defined. \u003c\/span\u003eYet once I begin working, there is a feeling that the material can be pushed further and further, beyond what is possible with other clays.\u003c\/p\u003e\n\u003cp data-start=\"555\" data-end=\"932\"\u003eIn the \u003cem data-start=\"562\" data-end=\"578\"\u003eLove in a Mist \u003c\/em\u003e(a plant species also referred to as, \u003cem data-start=\"562\" data-end=\"578\"\u003e\u003cem data-start=\"603\" data-end=\"622\"\u003eNigella damascena), \u003c\/em\u003e\u003c\/em\u003ethis tension takes form. Hand building requires a pace that is inherently slower, and in that slowness I find a kind of clarity. It quiets distraction and allows for a more attentive engagement with the material. Porcelain demands this care. \u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eThere are many disruptions and failures working with porcelain, taking it too far, too thin - it can easily collapse in the making or in the firing but the challenge for me is worth it. The material is \u003c\/span\u003ecapable of remarkable delicacy, thinness, translucency, and a luminous whiteness that holds both light and detail.\u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e\n\u003cp data-start=\"1326\" data-end=\"1598\"\u003eI am drawn to this balance: between control and risk, fragility and strength. The challenges of the material are part of its pull. Through working with porcelain, I am continually negotiating these limits, allowing the form to emerge through both intention and response.\u003c\/p\u003e","brand":"LOREN KAPLAN","offers":[{"title":"Default Title","offer_id":52869850759477,"sku":null,"price":1750.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0779\/5798\/8661\/files\/IMG_0057_1.jpg?v=1778640553"},{"product_id":"oni-white","title":"Oni (White)","description":"\u003cp data-start=\"150\" data-end=\"475\"\u003eLiving at the foot of Mount Asama has shaped my understanding of landscape over time. A visit to Onioshidashi, a lava field formed during the 1783 eruption, left a lasting impression. The terrain felt both unfamiliar and deeply resonant, prompting me to consider how such overwhelming, non-human forces might be given form.\u003c\/p\u003e\n\u003cp data-start=\"477\" data-end=\"994\"\u003eI draw on the figure of the \u003cem data-start=\"505\" data-end=\"510\"\u003eoni\u003c\/em\u003e, a presence in Japanese folklore associated with both destruction and unknown power. I initially worked in darker clays, expressing the raw blackness of the earth. Over time, this evolved into white porcelain. In Japan, white is considered a sacred colour, free from impurity or malevolence. What, then, is a white \u003cem data-start=\"826\" data-end=\"831\"\u003eoni\u003c\/em\u003e? For me, it suggests a deeply spiritual presence, something that exists within nature yet beyond it. This is an expression I can only realise through porcelain.\u003c\/p\u003e\n\u003cp data-start=\"996\" data-end=\"1223\"\u003eWorking with a refined porcelain clay blended with washi paper, I build forms that push the material’s limits. Through this process, I explore a tension between purity and chaos, allowing form to emerge from that instability.\u003c\/p\u003e\n\u003cp data-start=\"1225\" data-end=\"1430\"\u003eBy bringing together the purity of porcelain with the madness embodied by the \u003cem data-start=\"1303\" data-end=\"1308\"\u003eoni\u003c\/em\u003e, I propose a form that emerges within the chaos of the present, holding both clarity and darkness, purity and impurity.\u003c\/p\u003e","brand":"RICCA OKANO","offers":[{"title":"Default Title","offer_id":52869851447605,"sku":null,"price":1500.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0779\/5798\/8661\/files\/IMG_7058.jpg?v=1778641825"},{"product_id":"re-print-3-pieces","title":"Re-print (3 Pieces)","description":"\u003cp dir=\"ltr\"\u003e\u003cspan\u003eThe Re-print columns are a set of three stoneware sculptures with printed glaze draped across their surface. It forms part of Re-print, an ongoing series that examines how ceramic surfaces can preserve and obscure storytelling.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003e\u003cmeta charset=\"utf-8\"\u003eI am drawn to Porcelain for its strong historical association with blue and white surface decoration, one of the most recognizable forms of ceramic storytelling. Its smooth surface supports printed imagery, while its unpredictability in the kiln allows glaze to shift and distort, reflecting my interest in changing narratives. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp dir=\"ltr\"\u003e\u003cspan\u003eI developed a glaze-printing technique that allows imagery to be layered and reinterpreted directly onto the ceramic surface. Originating from observations of image distortion in water reflections, understood as a form of living, unstable print, the work translates fluid imagery into fixed ceramic forms. Through repetition and firing, the printed glaze shifts and distorts in response to heat, allowing familiar motifs to fragment and overlap. The kiln becomes a collaborator in this process, introducing movement and unpredictability, and reflecting how stories are remembered and retold through the longstanding quiet power of material storytelling.\u003c\/span\u003e\u003c\/p\u003e","brand":"HELENA LACY","offers":[{"title":"Default Title","offer_id":52869886345525,"sku":null,"price":1225.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0779\/5798\/8661\/files\/1.Re-print-HelenaLacy.jpg?v=1778642647"},{"product_id":"gothic-sentinel-3","title":"Gothic Sentinel 3","description":"\u003cp data-start=\"113\" data-end=\"527\"\u003eMy relationship to porcelain begins with early exposure to it as an object of admiration—figures by Royal Doulton, Rosenthal, Belleek, and the quiet perfection of European porcelain sinks. There was a precision to these works, a sense of refinement achieved through casting and control. I was also drawn to antique Asian blue-and-white vessels, where porcelain carried both history and a kind of quiet authority.\u003c\/p\u003e\n\u003cp data-start=\"529\" data-end=\"592\"\u003ePorcelain held a hierarchy - it was the material of perfection.\u003c\/p\u003e\n\u003cp data-start=\"594\" data-end=\"895\"\u003eIt’s precisely for this reason that I chose to work against that expectation. Through hand building, I move away from perfection, allowing fingerprints and gesture to remain visible. The work becomes more organic and more emotional. It's shaped by the hand rather than concealed by finish.\u003c\/p\u003e\n\u003cp data-start=\"897\" data-end=\"1178\"\u003eAt the same time, porcelain offers a unique sensitivity. It can be translucent, understated, and quietly luminous, with or without glaze. I’m interested in this tension between its historical association with perfection and its potential to hold something more raw and immediate.\u003c\/p\u003e\n\u003cp data-start=\"1180\" data-end=\"1458\"\u003eIn some works, I incorporate deconstructed Royal Doulton pieces, questioning what has been inherited and what we continue to value. These fragments become a way to reconsider ideas of beauty, worth, and collectability. What is preserved? What is transformed through making?\u003c\/p\u003e","brand":"HEATHER WAUGH PITTS","offers":[{"title":"Default Title","offer_id":52872677785909,"sku":null,"price":375.0,"currency_code":"CAD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0779\/5798\/8661\/files\/IMG_2435_1.jpg?v=1778679723"}],"url":"https:\/\/vesselsandsticks.com\/collections\/selected-works-porcelain-reconsidered.oembed","provider":"Vessels + Sticks","version":"1.0","type":"link"}